Titre :

Associations between music training and the dynamics of writing music by hand

Auteur(s) :

Bertiaux, Aurélien [Auteur]
Centre de Recherche en Informatique, Signal et Automatique de Lille - UMR 9189 [CRIStAL]
Algomus
Gabrielli, François [Auteur]
Neuro-Dol [Neuro-Dol]
Giraud, Mathieu [Auteur]
Centre de Recherche en Informatique, Signal et Automatique de Lille - UMR 9189 [CRIStAL]
Algomus
Leve, Florence [Auteur]
Modélisation, Information et Systèmes - UR UPJV 4290 [MIS]
Algomus
Centre de Recherche en Informatique, Signal et Automatique de Lille - UMR 9189 [CRIStAL]

Titre de la revue :

Musicae Scientiae

Éditeur :

SAGE Publications

Date de publication :

2023

ISSN :

1029-8649

Discipline(s) HAL :

Sciences du Vivant [q-bio]/Neurosciences [q-bio.NC]/Sciences cognitives
Informatique [cs]/Son [cs.SD]
Sciences de l'Homme et Société/Musique, musicologie et arts de la scène

Résumé en anglais : [en]

Learning to write music in the staff notation used in Western classical music is part of the musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics ...
Lire la suite >Learning to write music in the staff notation used in Western classical music is part of the musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition (OMR) and music notation and composition interfaces. We investigated associations between music training and experience and the way people write music by hand. We made video-recordings of participants’ hands while they were copying or freely writing music and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed that experienced musicians wrote faster than beginners, that they were more likely to write chords from bottom to top, and that they tended to write the note-heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.Lire moins >

Langue :

Anglais

Comité de lecture :

Oui

Audience :

Internationale

Vulgarisation :

Non

Collections :

• Centre de Recherche en Informatique, Signal et Automatique de Lille (CRIStAL) - UMR 9189

Source :

Harvested from HAL